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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossiniís ďWilliam TellĒ overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonicís Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, May 11, 2013
Bruno Ferrandis, conductor; Olga Kern, piano

Pianist Olga Kern

A PERFECT 10 FOR THE TENTH

by Steve Osborn
Saturday, May 11, 2013

The Santa Rosa Symphony capped off its first year in the resplendent Green Music Center with an impassioned performance of Shostakovich's Tenth Symphony, widely regarded as his masterpiece in the genre. Every section of the orchestra, from the lowest bass to the most stratospheric piccolo, played to the max, producing a lush, dense sound that filled the GMC's nearly full Weill Hall almost to bursting point.

The Shostakovich was a highlight of the season, matching or exceeding memorable performances earlier in the year of Berlioz's "Symphonie Fantastique," Mahler's Symphony No. 1, and Brahms' Symphony No. 3. In one sense, it was better than all of those, because--despite being 60 years old--it was probably new to most of the audience and made a strong case for the glories of modern repertoire.

Conductor Bruno Ferrandis chose an all-Russian program to build up to the Shostakovich. The concert opened with the all-too-brief prelude to "Khovanshchina," by Mussorgsky. Subtitled "Dawn on the Moscow River," this intensely lyrical work opens with a hushed figure in the violas that moves through the other strings and migrates to the clarinet, oboe and English horn. The playing was both ethereal and soothing, in keeping with the music's program. Sadly, it was over all too soon, ending up as more of a song than a full orchestral piece.

The full-blown orchestra arrived with the next number, Rachmaninoff's oft-performed Piano Concerto No. 2, this time with Russian pianist Olga Kern, winner of the 2001 Van Cliburn Competition. She entered from stage right in a floor-length red dress with a semi-open back, but her subsequent performance never quite matched the implicit fire of her bodily decor. She sat stiffly on the piano bench, her shoulders slightly stooped, her eyes fixated on the keyboard. In a work of intense Romanticism, she seemed to be more of an observer than a participant.

Kern's playing in the first movement lacked both projection and fluidity. She was often buried by the orchestra, and her phrases were disconnected. Instead of flowing into each other, they seemed isolated--fragments instead of a complete entity. The second movement was better, but again the piano didn't ring out, and the playing lacked fire. It was only in the third, with its unflaggingly popular melody, that Kern finally came to life, articulating each recurrence of the theme with authority and technical dazzle.

The relative disappointment of the Rachmaninoff was soon forgotten in the magnificent opening bars of the Shostakovich. Using the simplest of means--the first three notes of the minor scale--Shostakovich crafts a riveting and suspenseful tale, as the three-note figure begins in the cellos and moves throughout the orchestra, pausing briefly for a gorgeous clarinet solo, ably played here by Roy Zajac. The inexorable forward motion continues, leading to an arresting fortissimo section followed by a long decrescendo.

The playing throughout the movement was exemplary, nowhere more so than in a luscious post-fortissimo clarinet duet between Zajac and his colleague Mark Wardlaw. The duet led into an obsessive waltz highlighted by crisp unanimity from the strings, and then into a haunting conclusion for piccolo and drums.

If the first movement displayed the Symphony's expressive capabilities, the second showed off their ability to play at top speed with an unflagging beat. Ferrandis launched them into a relentless perpetual motion at top volume, and they never let up. The effect was both dazzling and intense.

Speed gave way to Shostakovich's elegantly simple phrases in the third movement, marked Allegretto. Sounding much like a string quartet, the fiddles and their kin acted as a perfect foil for beguiling solos from French hornist Alex Camphouse and English hornist Bennie Cottone. Despite the relatively slow tempo, the forward motion was compelling, thanks to Ferrandis's steady beat.

Both Shostakovich and the Symphony saved the best for last, with a thoroughly convincing reading of the final movement. The pace was again furious, and the pulse evident at all times. Ferrandis exerted great dynamic control, easing into pianissimos with as much authority as fortissimos. The many solos from woodwinds and brass were all well played, making the work a virtual concerto for orchestra. When it came, the ending was sheer drama. It was a great way to end the season, and it bodes well for the season to come.

[Reprinted by permission of San Francisco Classical Voice.]